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‘Sister Midnight’ Review: Surreal Indian Comedy Swerves Into Genre Excess
'Sister Midnight,' Karan Kandhari's clockwork satire on modern arranged marriage, is filled with bold promises it can't keep.
It doesn’t take long for Kandhari to establish his snappy comedic vibe, with all the calculated framing, editing and choreography of a Wes Anderson action scene (the wake in “The Grand Budapest Hotel” comes to mind, with its litany of well-timed punches). While of Indian origin, Kandhari is London-based and draws from a variety of cultural influences, but his depiction of working class Mumbai never feels inauthentic, especially in the movie’s quieter, low-lit moments, whose shadowy visual contrast creates striking portraits of Uma that verge on expressionistic. The happily married woman next door, Sheetal (played by Chhaya Kadam, who also stars in Cannes Grand Prix winner “All We Imagine As Light”) takes Uma under her wing and delivers even her most impassioned and welcoming lines with wry, impenetrable wit.
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